Page 244 - 臺中市第二十八屆大墩美展專輯

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Juror's Statement

CHUANG Po-Ho

類 工 藝
Since its inception, Da Dun Fine Arts Exhibition's Crafts category has accumulated works of impressive quality and quantity. The development of
crafts is a strength of Taiwan's cultural expression, especially when crafts involves different materials and their procedures, techniques, and usages,
covering a wide range of material and spiritual areas of life and art; with a variety of genres, there are also more talents incubated. As for crafts in the new
age, artists must follow technological development and utilize new technology, and even search for new paths of development under the influences of the
thinking of modern art.
Thus, there are certainly more aspects to consider when evaluating different types of craftworks participating in an art exhibition, and it is indeed not
an easy job; however, all craftworks rely on the most fundamental techniques, years of practice and refining one's skills, cultivation of innate and acquired
aesthetics, or pursuit of artistic expression under the restriction of functionality. In my opinion, these are perhaps the criteria that can be used to judge
craftworks. Crafts
This year's Crafts category received 152 entries. The five jurors, SIAO Ming-Tun, TSAI Jung-Yu, HUANG Li-Shu, CHEN Ching-Lin, and CHUANG
Po-Ho, evaluated the entries in the preliminary review and short-listed 20 entries, among which, 19 entries were judged in the final review. In the end,
17 entries were selected, including winners of the top three prizes, three winners of Award of Merit, and 11 selected works. As usual, the top three prize
winning works are introduced below by summing up the comments and opinions of all jurors:
First Prize was awarded to ZENG Siang-Syuan's "The Microscopic Container of the Flower - The Source Body Flower Axis." From the title of
the work, it is not hard for us to learn the artist's creative intention: flowers in the shape of a bag already symbolizes life and vitality; however, the artist
imagines the units of filaments and ovary through microscopic observation, which are dissociated, assembled, and reproduced, to reshape the structure
of flower. The tubular units are the canals for water and nutrients! The production process also involves wheel throwing, distortion, and decoration, and
features mainly traditional ceramic technique to twist together the tubular units of interwoven blue and white colors in varied forms. The impressive thing
is that the artist demonstrates admirable creativity through his grasp of techniques, completing an elegant abstract imagery of blue and white porcelain.
Second Prize went to "Chrysanthemum Petal Silver Teapot" by CHEN Shui-Lin. The silver teapot features exquisite craftsmanship and elegant
curves; especially, the petals of chrysanthemum expressed through the shape of the teapot, carved patterns, and rhombic relief reflect the natural hue of
pure silver, and present an optimal overall visual effect, demonstrating creativity within functional consideration and manifesting craftsmanship of "use"
and "beauty." However, the yellow nylon thread that comes with the teapot needs some reconsideration.
Third Prize went to "Home" by SU Chien-Chang. On a black lacquered board, the artist has obsessively carved out an image using a carving knife.
He demonstrates mature techniques, and, at first glance, the work resembles a copper plate; however, the contrast between the gold and black accentuates
the spatial depth to present an ode to shadowy aesthetics. The work is tranquil and elegant, achieving a high artistic level. According to the artist, he was
inspirated by the Buddhist term "Vassa," which refers to the three-month annual retreat observed by Theravada practitioners during the wet season in
India. The monastics usually stay in one place during vassa to further their cultivation. The artist associates this idea with preservation of Taiwan's forests,
which allows Formosan sika deer and other animals to quietly and peacefully grow.